June, 2013

Keith Haring: The Political Line at the Musée d’Art Moderne de la Ville de Paris and Centquatre

Keith Haring. Unfinished Painting, 1989; acrylic on canvas; 100 x 100 cm. Courtesy of Keith Haring Foundation.

Shotgun Reviews are an open forum to which we invite the international art community to contribute timely, short format responses (250–400 words) to an exhibition or event. If you are interested in submitting a Shotgun Review, please follow this link for more information. In this Shotgun Review, Kanika Anand reviews Keith Haring: The Political Line at the Musée d’Art Moderne de la Ville de Paris and Centquatre. Cohosted by Musée d’Art Moderne[…..]

Mexico as Muse

Robert Motherwell. Pancho Villa, Dead and Alive, 1943; cut-and-pasted printed and painted papers, wood veneer, gouache, oil, and ink on board; 28 1/4 x 35 7/8 in.

As part of our ongoing relationship with the Los Angeles-based Artillery, today we bring you an article about artists who have been inspired by the landscape and culture of Mexico. The author, Betty Ann Brown, says, “My journey through Mexico has been a journey from consumption to critical thinking.” Mexico as Muse was originally published on April 30, 2013. “Mexico is truly the promised land for abstract[…..]

Maria Lassnig at Capitain Petzel

Maria Lassnig. o.T., (2012), Oil on canvas, 205 x 158 cm. Courtesy of Capitain Petzel, Berlin. Photo: Jens Ziehe.

Maria Lassnig’s current solo exhibition at Capitain Petzel in Berlin takes a quick and investigatory look at her body-awareness paintings. At first glance, Lassnig’s works look crass. She seems to care little for surfaces and even less for her palette: lumpy, grayish figures lie casually upon the surface of the canvas, craftsmanship is squandered, and colors are straight out of the tube. However, at the back of[…..]

Fowl Play: Koen Vanmechelen at ConnerSmith

Koen Vanmechelen, Red Jungle Fowl, 2013; lambda print on plexiglass, diptych, 24 x 24 in. (each), edition: 5. Courtesy of ConnerSmith.

Today’s domestic chickens are genetically altered far from their original ancestors. With the release of documentaries like the 2006 Fast Food Nation and 2008 Food, Inc., the poultry industry has come under harsh scrutiny in recent years, as the grotesque conditions in chicken farms across the country have been brought to light.  Though this has been a hot topic in the media and popular culture,[…..]

Fan Mail: Masur Museum

Jenny Holzer. Sense, undated; still from s[edition] digital limited edition; edition 106 of 5,000, dimensions variable. Courtesy of the Artist and s[edition], London. Pending accession to Permanent Collection of Masur Museum of Art, Monroe, LA.

For this edition of Fan Mail, the Masur Museum of Monroe, Louisiana has been selected from our worthy reader submissions. Two artists are featured each month—the next one could be you! If you would like to be considered, please submit your website link to info@dailyserving.com with ‘Fan Mail’ in the subject line. For the upcoming exhibition Computer Aided, the Masur Museum is showing works by the[…..]

Chun Kwang Young: Assemblage

Chun Kwang Young. Aggregation 07 DE146, 2007 (detail); mixed media with Korean mulberry paper; 250 x 205 cm. Image courtesy of Michael Culme-Seymour and Art Plural gallery.

Chun Kwang Young’s Assemblage at Art Plural Gallery is a series of three-dimensional sculptural works wrapped with Korean mulberry paper and assembled within the two-dimensional frame of a canvas. Taking the ubiquitous use of the mulberry paper in Korea—also known as hanji—as a material point of reference, the Assemblage series explores a desolate landscape of depressions, protrusions and coloured spots, all of which seem to reference abstract painting’s visual language of prioritising[…..]

The Weird and the Northwest: An Interview with Cynthia Lahti

Cynthia Lahti’s work spans a multitude of mediums, from collage to ceramics, altered books, and painting. Populated by strange or uncanny figures—often children in masks and costumes—her works are odes to the off-kilter. If there’s violence in her mark-making, nearby is always a tender or vulnerable gesture. Tailing her solo exhibition Elsewhere at PDX Contemporary and a residency in Berlin, Cynthia Lahti was also recently[…..]